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Showing posts with label gaming ecosystem. Show all posts
Showing posts with label gaming ecosystem. Show all posts

A qualitative approach for gaming research

As a game designer, I always try to understand methods and practices that can help me in the developing process of a ludic interface. The iterative design - based on creating, testing, modifying and recreating until reaching an error-free product - is a methodological approach that allows excellent hybridizations with other research methods. In my last two projects, I tried to establish a qualitative interview during the iterative process with different players, to discover the potentialities and faults of my game.



Organizing a dialogue between different kinds of players is an inspirational key to open new passages in the game design process. Some feedbacks from players in interviews are fundamental guides to improve the game’s mechanics, dynamics, narrative and layout.

In this context, it’s always essential to remember that “videogames are fundamentally interactive, relying on communication between the player and their character, the player and the content, and even players with one another” and it’s crucial to ponder that “while games are developed in a studio, at least part of their meaning and significance is created at the moment of play and through the people who play them” (COTE; RAZ, p.93, 2015).

The qualitative method is one of many good ways to understand the creation of meaning and significance in a gaming interface. To conduct a quali interview, it’s necessary to have a good script with clear objects imbricated in the questions. Cote and Raz (2015, p.104) teach us how to write a very intuitive qualitative interview guide, adapted for a gaming universe:

1. Create an introductory script to open the interview and remind the study goals;
2. Warm-up questions to put the participant at ease and build rapport. Some examples that the authors use are “How long have you been playing videogames for?” and “What’s one of your favorite gaming memories?”
3. Substantive questions to collect deeper data that answers the research questions. This part is nuclear in the interview, here you will ask player’s feedbacks about gaming interface, mechanics and other aspects;
4. Demographic questions to gather data needed to describe participants in the final research report.

Applying qualitative process with iterative design is a great challenge for game designers. It requires more and more studies to generate better practices in our field. About this subject, I strongly recommend the second part of this Game Research Methods book.

#GoGamers



Reference:

COTE, Amanda; RAZ, Julia. In-depth interviews for game research. . IN: LANKOSKI, Petri; BJÖRK, Staffan (Eds.). Game research methods: an overview. Halifax: ETC Press, 2015. p.93-117.

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Bloodborne: a ludic masochism

Last week, I started to play Bloodborne (Playstation 4, 2015). As Dark Souls and Demons Souls, the new From Software game has an extreme level of difficulty and challenge. Every simple wrong move could put you six feet under and, every time you die, you lose all your progress. Add to this equation some monsters with weapons and the stage is ready for the fight.



This is a game where you need patience to learn small details to survive. A friend of mine even questioned me why people like to play this kind of game. It’s a “ludic masochism”, he sad. Check the trailer below:



Well, the gaming industry is plural and we have games for all kinds of players. Bloodborne fits in a category of high-challenging games, and an example of it is the great difficulty of the narrative. Jesper Juul (2013) helps us understand better this ecosystem and how people play this kind of “torture”. The author teaches us that “games are a perspective on failure and learning as enjoyment, or satisfaction” (2013, p.45). To complement this idea, Juul (2013, p.56) also says that “we are emotionally affected by games, and we are aware of this before we start playing”.

This feeling of failure and victory are sides of the same coin. One thing is important: the game must have a plausible solution even for well-skilled players. An impossible game could be only a frustrating experience. Giving hints of progress is fundamental in this scenario. And it’s important to remember that the “problem with fictional tragedy also showed that it is failure that makes us feel responsible for the events in the fictional “JUUL, 2015, p.117).

I think we must play all kinds of games, from casual games to experiments like Bloodborne. In both cases, I try to identify how the experience of victory and failure is created inside the gaming world. This is a fantastic exercise for game designers.



Reference:

JUUL, Jesper. The Art of Failure: an essay on the pain of playing video games. Cambridge/London: MIT Press, 2013.

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The art of making friendly enemies

I participate in a group called Board Game Tuesday (or BGT). We meet weekly to play and discuss board games. Our primary focus is the playing, but we always set aside a time to analyze the structure of the games (mechanics, dynamics, art, components etc.).

However, I quite like to analyze the behavior of players during matches. I like to observe the nervousness to roll the dice for something important, the glory in the eyes of a player with a well-structured combo of cards, the malignant partnerships between players and – of course – arguments and "fights" because of the final results of a gaming experience.


(Playing ISLA DORADA. Big, Vince & Snow. Pic: Estevão)

This last feature, particularly, impresses me. The “magic circle” of a game has the power to transform friends in enemies with established social rules (and gaming rules). As Juul says (2013, p.11) “when playing a game, a number of actions that would regularly be awkward and rude are recast as pleasant and sociable”. So, we can say that a game can generate a kind of friendly enemies during the time of a match.

About this context Juul (2013, p.14) also says that, to play a game is “to make an emotional gamble: we invest time and self-esteem in the hopes that it will pay off. Players are not willing to run the same amount of risk – some even prefer not to run a risk at all, not to play”.

The gaming ecosystem is a complex and privileged field of studies. But we must never forget that behind a game there are human players full of feelings and this is an important part of the experience to observe, analyze and discuss.

At this moment, I’m reading again Jesper Juul’s “The Art of Failure” and Bernad Suits “The Grasshopper”. I’m full of new ideas about the role of the player inside the gaming universe and I count on this inspiration for a “wave” of posts with this subject this semester.

Keep your radars alert for that.



Reference
:

JUUL, Jesper. The Art of Failure: an essay on the pain of playing video games. Cambridge/London: MIT Press, 2013.

SUITS, Bernard. The Grasshopper: Games, Life and Utopia. EUA: Broadview Press, 2005.
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